“Akio Obuchi started harpsichord building in 1969. After visiting museums and instrument builders in Europe in 1975, "learning from historical works" has been his fundamental attitude of instrument making. He makes replica of extant instruments or new instruments within the categories with period and countries. He always keeps tone characters of finished instruments in mind through the entire proecess of making instruments. Since the first experimental Geigenwerk was made in 1993, he cannot give-up his dream of keyboard instrument with which the player can control tone pitch and dynamics, he continuously challenges making mechanically bowed keyboard instruments.

He started violin lessons at seven years old. Through his experience in playing the violin in symphonic orchestra, chamber ensemble, and baroque consort, his interest buildup more on period instruments, and studied baroque violin with Keiko Watanabe, since 1984. He is performing concerts with his friends in churches and other places.

In 1971, he received MS degree in mechanical engineering from Nihon University. His working career started with research and development on electro-acoustic transducers at Pioneer Electronic Corp. Then, moved to Schlumberger Oilfield Services Inc. to further develop his professional career, contributing in R&D programs on acoustic measurements for oil and natural gas explorations. After working several years for Vodafone Co., Ltd. he resigned in 2004. Since then, his time is fully dedicated for research and making historical keyboard instruments.

"Tatsuo Takahashi was born in 1952 in Tokyo. His grandfather was a master furniture artisan who lived through the Art Deco period in his youth, and his two uncles are also furniture artisans of the highest level.

In such an environment, Takahashi was able to develop woodworking skills and an intimacy with the spirit of wood from a young age. He took interest in the harpsichord as a 17 year-old high school student, and gradually began researching the instrument. He was only 20 years old when he finished building his first harpsichord, during his days as a student at the Musashi Institute of Technology. Since then, he has continued to build harpsichords and clavichords using his own unique methods. " Visit website for more information. (ed.)

“With an extensive background in repairing and tuning the "modern piano", Edwin Beunk started his own workshop in 1981. Johan Wennink joined forces with him in 1985. Their ardent interest in the fortepiano resulted in a specialization in this particular field. In 1992 Ben Kamphuis and Carolien Dopheide joined the team. Today they have a lot of experience in the restoration of all predecessors of the modern piano: from the Viennese 'Hammerklavier' from Mozart’s time up to the later pianos of the Brahms era. But also many an instrument from London and Paris - the other piano-building centres of former days - went through their workshop before starting a new life in the hands of musicians all over the world.

Restoration is either commissioned by clients of their own instruments or carried out for buyers of pianos held in stock.

Edwin Beunk built up a collection of antique pianos from the period 1780 up to 1870, all instruments that relate to the pianos of the important composers. Therefore there are no giraffe pianos, down striking instruments or square pianos.

Instruments in the collection have been used in more than 170 recordings. They are also available for concerts.”

"... I'm Herwil van Gelder. I live in the northern village of Groningen Warfhuizen where my instrument workshop is in the former village school.
Since leaving 15 years regularly newly created harpsichord, clavichord, organ and sometimes even related instruments like the lute. Also maintenance and restoration have been important activities. On these pages I put in brief my vision of building and restoration of baroque instruments.
The instruments that I construct are regularly used in CD recordings, such as the CD's' The Complete Works of Keyboard JP Sweelinck '(label: NM Classics 92119) and the Orland Lassus / Chansons (RIC 154149). They are also often live to hear in many concert at home and abroad.
I invite you in my workshop to my own instruments to play and my practice to learn. ... " (Google and editor translation) Visit website for more information. (ed.)

“Curiosity Started Me Building Harpsichords

Today it is as strong as it was when I began my first instrument in 1973. Every new harpsichord is a voyage of discovery. This is because of the manner in which I work.

It starts with designing the instrument. I base my design on one or more existing instruments of a certain builder or a school of building.

I don't copy: I want to design the instrument the way that builder would have done with the materials available now and following the wishes of my client. I use the experience I gained from previous harpsichords I made. The process continues in the building phase: working on, I continually ask myself why the builder made the choices he made and that leads to all kinds of ideas, which I pursue. I work from the whole, from which the details arise, and when I change a detail, all changes, so adjustments may be necessary again. On the one hand it is seeking, on the other hand it is to be inspired.

Because of this way of working I cannot make more than 3 to 4 instruments per year.

The result always turns out to be good: the last harpsichord always is the best I ever made. But I can only hear that when it is properly played upon for the first time, by someone who really can do that, when player and music merge and the instrument in fact disappears. That is the way I want to make my instruments: that one doesn't hear the instrument, just music.”

" I am a German Harpsichord Maker, Working in the Philippines and my Harpsichords are now also Accommodated to hot and humid Climate. I am Working on my own without any helper and make Master-Instruments of High Quality. ..."

"The design of our jacks was originally inspired by Ruckers jacks, particularly where the dimensions of the tongues are concerned, and to some extent the thickness of the bodies.
Tongues are currently cut from very nice straight and quarter sawn hornbeam, to maximise the strength at the plectrum slot. (slab sawn tongues are 4 x weaker than quarter sawn, and hence 4 x more prone to splitting. 31 mm long by 4.2 mm wide and 2.8 mm thick, they are fully shaped in profile and aspect. We no longer use a cut across the back of the plectrum slot, as this just weakens the tongue at the slot.
The aim being to maximise the strength of the tongue at the plectrum slot, and lighten it as far as possible elsewhere. 6 degree upward slope on plectrum slot.
Similarly the jack body we try to make quarter sawn - as did Ruckers - giving a 4 x stronger damper slot, and a more stable jack. Rock maple has served as the material for recent years. Wild Service, pear, holly, beech are other possible materials." See website for more info. (ed.)

"I have been involved in the making of harpsichords since 1976, coming to the craft from a period of time in an organ-building workshop, which followed an earlier musical training at college and university, where I specialised in early keyboard studies.

I am primarily self-taught as a harpsichord maker, and my experience has led me to offer the range of instruments that you will find detailed here.

In order to cope with the practical needs of musicians, the compass of some of my instruments has been extended, and all have the capability to transpose once, or twice if required. These practical alterations sometimes necessitate a slight widening of the keywell, or enlargement of the case – nonetheless, historical practice is closely followed and respected at all times in the design, the choice of materials and the decoration of all of my instruments. " Visit website for more information. (ed.)

"Andrew Garlick has been building harpsichords, spinets and virginals in Somerset since 1972 and has gained an outstanding reputation for the quality craftsmanship, clear tone and fine appearance of his instruments. Built to order using authentic materials with accurate historic detailing, they can be decorated to suit individual requirements.

Andrew specialises in French and Flemish harpsichords and examples of his work can be seen all over the world. Many are owned by well-known performers and are often featured in concerts, radio broadcasts and recordings. " Visit website for more information. (ed.)

"Carl Rennoldson was born in Loughborough in 1946. His early training was in traditional cabinetmaking, learning the trade at the bench under the supervision of an established craftsman. The workshop, with connections going back to the old London firm of George Betjemann & Sons, made luxury items of furniture and special commissions. Later he attended Shoreditch Teacher Training College at Egham, Surrey, obtaining a Cert.Ed., with distinction, in Craft, Design and Technology. It was during this period that he made his first harpsichord, a large double manual instrument in the style of Kirkman.

ince 1983 he has been running his own furniture making and antiques restoration business and for 20 years taught antique furniture restoration for the Kent Adult Education Service. His interest in music comes from an early introduction to the violin, which he still plays. In 1993 he decided to further pursue his interest in early keyboard instruments and enrolled at London Guildhall University graduating with a B.Sc.(Hons) First Class in Musical Instrument Technology.

Specialising in French, Flemish and Italian keyboard instruments from the early 16th century to the early 18th century, designs are based on museum drawings of original instruments with some minor adjustments to compass and disposition in order to accommodate the preferences of individual customers.

Great care is taken to source and select appropriate materials with particular attention given to constructional refinements ensuring an even touch and responsive action. The detailed casework and decoration perhaps reflect his early training and long association with the art of woodworking. " See website for more information. (ed.)

"I have been a professional builder and restorer of harpsichords, fortepianos and harps since 1978, and since then my instruments have found homes in the USA, Canada and Australia as well as more locally in this country. Much of my work is producing copies of some of the fine antique instruments that have survived the years of neglect since the end of the Baroque era. I also enjoy the challenge of designing an instrument to a certain specification and historical models will almost certainly influence this.

A finished instrument may use up to twelve types of wood and the same number of animal products. Holly, pear, ebony, boxwood, lime and spruce are all chosen for their particular qualities, while raven and crow-quills, buffalo hide, hog's bristles, play their part too.

I build every part of the instrument myself including the case with it's inlay and marquetry, the keyboards and action which are made up of several hundred parts and the final stringing, tuning and setting up. From start to finish an instrument takes many months to complete. From the first careful selection of the timber every consideration is aimed to produce a reliable and beautifully toned instrument that could become the heirloom of the future. " Visit website for more information. (ed.)

"Welcome to the Harpsichord Services of London Website. We have a variety of top quality harpsichords and a small chamber organ available for hire for concerts and recordings. We are also happy to tune, repair, or transport your harpsichord, clavichord, virginals, spinet, or fortepiano in London or the Southeast of England. "

"Colin has been a harpsichordist and harpsichord-maker for more than 30 years.

He has sold around 300 instruments worldwide, and can point to an unusually large proportion of these sales, to Early Music professionals, and harpsichordists in particular. The playing qualities of his instruments have an edge over those of many makers, due to his sensitivity as a player, to touch and response. " Visit website for more information. (ed.)

"Darryl Martin was born and initially educated in Perth, Western Australia, before moving to Britain (to become a full-time instrument maker) in 1986. Since 1989 he has been based in Edinburgh. Initially trained as a musical instrument maker, specialising in early keyboard instruments, he then pursued a more academic approach to instrument research and commenced a PhD on the subject of English virginals – a thesis which looked at all aspects of the instrument from a design, construction and decorative point-of-view. He was awarded his PhD by the University of Edinburgh in 2003.

Since 1990 Darryl has been involved with the Edinburgh University Collection of Historic Musical Instruments (EUCHMI), initially making technical drawings of a number of instruments and then writing catalogues, which has now amounted to all of the plucked and bowed Western instruments in the Collection. In 2004 he was appointed to the position of Curator of the Musical Instrument Collections. The Collections include the non-keyboard Donaldson Collection housed (mostly) at the Reid Concert Hall, and the keyboard collections at St Cecilia’s Hall, including the Russell and Mirrey Collections. Darryl regularly gives papers at international conferences and has been widely published in British and foreign journals. Present research work includes a transcription and edition of the “Talbot Manuscript” – a seventeenth century source which discusses musical instruments that were known and used in England. " See website for more information. (ed.)

"My main field of interest is the study of the history, construction, design and functions of harpsichords, virginals, spinets, organs and fortepianos from the period of their first construction to the period around 1820.

Much of my time is spent in the restoration of early keyboard instruments and in the construction of historically-based harpsichords and virginals. In addition I have been involved in consultations with private and public institutions and individuals throughout Western Europe concerning the authenticity and restoration of early keyboard instruments from the historical period.

In the past I have devoted a great deal of time and study to the harpsichords and virginals built by the Ruckers family in Antwerp. But my main field of interest at the moment is the study of Italian keyboard instruments and, in particular, the study of the use of the local unit of measurement in their design and construction. Hence I am also deeply involved in historical metrology and have now collated one of the most extensive data bases of the lengths of the various local units of measurements used in the various centres and regions of the Italian peninsula (see: Geometry and the Unit of Measurement). The two main regions of interest are the sixteenth-century instruments made in Venice and in Naples. " See website for more information. (ed.)

"In our workshop we have the facilities to repair or overhaul both historical and 20th century harpsichords. We hold a good stock of parts and accessories for repairs and upgrading of most harpsichords throughout the world.

We are pleased to give quotations on labour costs for work and services carried out in our workshop with a guarantee that no extra expense is incurred on any repairs or restoration work unless the customer is in full agreement.

Please ask about our facility to fit any of our Harpsichord or Spinet parts or accessories to your instrument, including cutting-in of the plectra if we install our HCH Jack Conversion Kit. "

"I have been making instruments since 1982, and began making harpsichords in 1988. I make them in my own workshop in North London and though I do use machines, I make a point of working as much as possible by hand.

I want my harpsichords to be high quality, reliable instruments, but not to look mass produced. I want them to feel human, and to have my fingerprint on them; for this reason I also make my own jacks and do my own soundboard painting. " See website for more information. (ed.)

"I first established myself as a harpsichord maker in 1980 (in Western Canada) and began making Harpsichords, Virginals, Spinets and Clavichords. In the late 1980’s I added Viennese Forte-Pianos to my repertoire. I also undertake restorations, renovations and repairs of early stringed keyboard instruments. Since moving to North Yorkshire my work has focused almost exclusively on restoration of early pianos, mostly Viennese Forte-Pianos.

I am a former academic (BA, MA - Alta, Can.: PhD -- London) and I have an early background in cabinet making and carpentry (my father was a cabinet maker). I studied early stringed keyboard instrument construction and design at the London College of Furniture (1977-80) and spent a further year (1984-85) as a Canada Council Fellow researching and drawing original instruments in Britain and on the continent.

All the instruments that I build are individually hand crafted, built along traditional lines and made from traditional woods and they are all based on historical models. " See website for more information. (ed.)

“Kenneth Tickell & Company are a small firm of craftsman Pipe Organ Builders. We build new organs to individual contract, ranging in size from portable continuo organs to large church and recital instruments. From time to time we also undertake historic restoration work.

Kenneth Tickell established his first workshop in 1982, moving to larger premises in 1986. Ten years later the business moved again, to large modern premises at Rothersthorpe Crescent which have excellent facilities for building and restoring organs of all sizes. We currently have a full time staff of nine craftsmen organbuilders, and a number of part time associates. …”

"Following an initial training in modern piano technology Lucy Coad completed a three year apprenticeship with conservator Tim Hamilton specialising in the conservation and restoration of historical pianofortes.
In response to the growing need to conserve and repair surviving instruments in private and public ownership, Lucy later chose to further specialise in square pianos. This led to the establishment of Lucy Coad Square Piano Conservation and Repair in London in 1985, later moving to our current location between Bristol and Bath. Our work ranges from the making of a single string through to the complete rebuilding of structurally failed instruments. "
Visit website for more information. (ed.)